Numero 51, located between Guastalla and Porta Romana, offers an immediate immersion into Japan through the sculptures of Shigeru Arai, also known as NAGNAGNAG. The gallery is hosting a new exhibition titled NEW ART GUILD – SOFUBI TEN (ソフビ展) SHIGERU ARAI TRIBUTE EXHIBITION, featuring an extensive and rare collection of his works until June 7th (by appointment). These pieces are not for sale; they are generously loaned by private collectors to pay tribute to Arai’s artistic journey and provide a comprehensive representation of his work. However, opportunities to acquire some unique pieces, including rare items crafted specifically for the gallery by artists and figures close to Shigeru Arai, will be available through an auction and lottery.
Sofubi refers to figures made from soft vinyl, originating from the toy industry. Traditional sofubi creations adhered to strict guidelines: clean coloration, technical precision, and stylized pop aesthetics were considered crucial for product quality. Brass masks were employed for serial precision, ensuring sharp lines and preventing paint bleeds.
Arai began his artistic exploration by modifying iconic figures like Godzilla. His distinctiveness emerges from his willingness to break rules within a country and an industry deeply rooted in them. His signature hand-painting technique, known as Arai-nuri, is central to his work, characterized by expressive layering, tactile surfaces, and unparalleled chromatic depth. While standard sculptures typically involve three to four color applications, Arai’s pieces often feature dozens, imbuing them with a sense of life and material richness. Another unique aspect is his addition of external, non-vinyl elements that vary with each piece: hair, eyes, accessories like studded cuffs, hats, nails, or even clothing that humorously references McDonald’s uniforms in various colors.
In 2008, Arai created his first original figure, Bouryoku Genjin (meaning “Violent Primitive Man”). This anthropomorphic figure, through its deformity, embodies the brutality of the human race. NAGNAGNAG’s creations occupy a unique space between sculpture and collectible art objects, bridging the gap between underground toy design culture and contemporary art practice. His influence has been instrumental in shaping a new generation of independent sofubi artists who continue to draw inspiration from his methods and aesthetic. His mastery of the market, built on scarcity and highly limited distribution, has solidified his status as one of the most sought-after artists in the field.
The exhibition, set within an underground-style environment adorned with graffiti and Japanese posters, features MieuxNA, Arai’s final sofubi creation (he passed away in 2023), displayed alongside canvases by Ayano Yamamoto. Despite its childlike appearance, the character represents a hundred-year-old man. Arai had intended to present MieuxNA at the Tokyo Art Fair with Yamamoto’s paintings as a visual counterpoint, but his passing prevented the project’s realization. This figure deviates significantly from his earlier works; while previous subjects were male or anthropomorphic, MieuxNA exhibits a more feminine design, yet possesses male genitalia.
In the painting GOING HOME SAFE, Yamamoto reinterprets MieuxNA, symbolizing the final day on Earth. Only three figures in the artwork appear to grasp this reality: the sofubi, a cat at the center, and a beggar. The other characters are fragmented and incomplete, like masks unable to acknowledge their impending end. In WHAT DO YOU WEAR WHEN YOU JUMP, MieuxNA is depicted from behind on a building, overlooking a modern city. This work invites multiple interpretations: is he about to jump, touching upon a sensitive theme in Japanese society like suicide, or is he poised for flight, embracing new possibilities? After all, he is a doll, not a human. These paintings dedicated to MieuxNA were created in memory of Shigeru Arai.
